Tulapop Saenjaroen
약력
Tulapop Saenjaroen (Thailand) is an artist and filmmaker currently based in Bangkok. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In combining narrative and the essay film genre, he investigates subjects such as tourism, self care and free labor through re-making and re-interpreting produced images and their networks. Saenjaroen received his MFA in Fine Art Media from The Slade School of Fine Art and MA in Aesthetics and Politics from CalArts.
Director
A story about storytelling: After returning to his hometown to work in his sister’s fruit processing factory, Earth slowly but surely pulls out of the family business to dedicate himself to writing an abstract, gory novel.
Editor
Squish! is a meditation on the self through lurid and liquid forms; filtered through both old and foreseeable technology informed by Thai animation history and contemporary culture, and a constant process of constructing and deforming new selves to simulate ‘movements’. By extrapolating and redefining the terms of ‘movement’, be it through psychological, physical or political understandings, the work interweaves the medium of animation with a state of depression.
Writer
Squish! is a meditation on the self through lurid and liquid forms; filtered through both old and foreseeable technology informed by Thai animation history and contemporary culture, and a constant process of constructing and deforming new selves to simulate ‘movements’. By extrapolating and redefining the terms of ‘movement’, be it through psychological, physical or political understandings, the work interweaves the medium of animation with a state of depression.
Director
Squish! is a meditation on the self through lurid and liquid forms; filtered through both old and foreseeable technology informed by Thai animation history and contemporary culture, and a constant process of constructing and deforming new selves to simulate ‘movements’. By extrapolating and redefining the terms of ‘movement’, be it through psychological, physical or political understandings, the work interweaves the medium of animation with a state of depression.
Editor
Commissioned by the Abandon Normal Devices Festival as an exploration into the globalised shipping networks, liminal territories and spaces of trade and labour that converge on the port city of Laem Chabang in Thailand.
Writer
Commissioned by the Abandon Normal Devices Festival as an exploration into the globalised shipping networks, liminal territories and spaces of trade and labour that converge on the port city of Laem Chabang in Thailand.
Director
Commissioned by the Abandon Normal Devices Festival as an exploration into the globalised shipping networks, liminal territories and spaces of trade and labour that converge on the port city of Laem Chabang in Thailand.
Co-Producer
20대 중반의 친구 네 명이 제2차 세계 대전 기념관인 죽음의 철도 박물관에 방문하고자 깐짜나부리로 향한다. 이들의 이야기와 평행을 이루는 한 여자의 이야기가 있다. 그녀는 친구가 알 수 없는 이유로 자취를 감춘 뒤 숲에 홀로 남는다.
Producer
According to Thai superstition, a virgin can ward off rain by planting lemongrass upside-down underneath an open sky. This belief remains prevalent to this day. As clouds begin to gather, Piano, the young production manager on a film set, is tasked to carry out this tradition. As her fellow female co-workers shy away from the duty, Piano is left with no choice but to take on the burden of becoming the lemongrass girl.
Editor
In this updated homage to the 1930 German silent film of the same title, Thai artist Tulapop Saenjaroen examines the paradox of people relaxing while being filmed. As a film shoot appears to be in perpetual delay, crew members kill time fiddling on their smartphones, all the while under the persistent gaze of the camera.
Writer
In this updated homage to the 1930 German silent film of the same title, Thai artist Tulapop Saenjaroen examines the paradox of people relaxing while being filmed. As a film shoot appears to be in perpetual delay, crew members kill time fiddling on their smartphones, all the while under the persistent gaze of the camera.
Director
In this updated homage to the 1930 German silent film of the same title, Thai artist Tulapop Saenjaroen examines the paradox of people relaxing while being filmed. As a film shoot appears to be in perpetual delay, crew members kill time fiddling on their smartphones, all the while under the persistent gaze of the camera.
Writer
A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.
Editor
A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.
Director
A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.
Director
The chronicles of a day in the life of a nameless woman as she wanders around Singapore. Part documentary part video essay, 'Nightfall' is a fictionalized account of Suwichakornpong's time spent during a residency researching Thai politics in a foreign land.
Director
“The Return” is an attempt by the artist to recall his lost memories of his father who died in the car accident in 1991 when the artist was almost five years old. Personal family photographs from his father’s funeral are overlaid with the imagined voice by the artist himself, fictionalising that his dead father is coming back to life—a strange and moving feedback loop between father and son, between photographic documentation and deteriorating memories, between personal history and its own otherness.
“The Return” is an attempt by the artist to recall his lost memories of his father who died in the car accident in 1991 when the artist was almost five years old. Personal family photographs from his father’s funeral are overlaid with the imagined voice by the artist himself, fictionalising that his dead father is coming back to life—a strange and moving feedback loop between father and son, between photographic documentation and deteriorating memories, between personal history and its own otherness.
